How to Use a Portable Audio Recorder on a Video Shoot

Nowadays, many people are using portable digital recorders like the Zoom H4n, Zoom H6, or Tascam DR40 to record the audio during video shoots with DSLR/mirrorless cameras. Now you need some real-world advice about using this equipment properly with external microphones, field mixers, and clapper slates. That's where this article comes in. Read on to find out how to get great sound on a DSLR shoot using a portable digital recorder.

DSLR and mirrorless cameras are capable of excellent stills and stunning video, but one area where they are lacking is their audio-recording capability. If you want your videos to sound great, you really need to use a separate portable digital recorder to capture audio when you shoot.

The practice of recording audio on a separate device is called "double-system" shooting. You need to be a bit more organized and methodical when working this way. Later in this article, we'll go over the key operational functions you must perform every time you record. First, we'll focus on different workflow options.

You may be thinking, "Wait a minute, I just have a portable digital recorder. Why do I need external microphones, a field mixer, and a clapper slate ?" A portable digital recorder is just one piece of the puzzle in a full-blown location audio kit. You need other equipment to do all of the things that the recorder itself cannot.

There are workarounds that enable you to record sound for video using less gear. We'll start with a bare-bones workflow and move our way up, so you can see how each additional piece of equipment helps you do a better job. I suggest that you read about all of these different workflows, because there are many tips mentioned throughout the article which can be applied to any situation.

Workflow #1: Using Only a Portable Digital Recorder

If you have a non-existent budget, or if you're working on a low-profile job where you can't bring much gear, you may only have the portable digital recorder itself to handle all of the audio work in a shoot.

The first step is to set the recorder to record 24-bit 48 kHz WAV files. These files sound great, will give you good headroom, and will play well with video files in post production. Anticipate that recording at 24-bit 48 kHz gives you about an hour of stereo recording per gigabyte. High-capacity SD cards are becoming more and more affordable, so consider picking up a few of those. It’s always a good idea keep a back-up card or two in your equipment bag.

Most portable digital recorders have decent-sounding built-in mics, but that doesn't mean they're going to deliver the best audio for your video productions. The reason that using the built-in mics on the recorder is so challenging is that you need to get them as close as possible to the sounds you want to record. The microphones should never be more than a few feet away from the sound source. So, if you have a person speaking in front of the camera, you're going to need to think of creative ways to get the recorder close to them. Often times the best solution is to frame the shot as a medium close-up, so either you or the on-camera subject can hold the recorder just out of the frame, thereby getting the microphones as close as possible.

Many people envision using a portable digital recorder mounted directly on top of their camera. Recorders like the Zoom H4n and the H1 have tripod threads built into them, so you can attach them to the shoe of your camera easily with an adapter like the Pearstone Male Accessory Shoe Adapter. Attaching the recorder to the top of your camera is an acceptable way to work when recording ambient environmental sounds, but it's definitely not the best way to go most of the time. Unless the camera itself is very close to the sound you're recording, the audio is going to sound distractingly distant.

You need to be mindful of the noises you make when the recorder is mounted on top of your camera. If you're not careful, the microphones will pick up the sound of your fingers fiddling with the controls on the camera, the operational noises of the camera, and footfall vibrations if you walk around. You can start to understand why it's often a better idea to use the recorder away from the camera.

If you're going to be shooting outdoors, it's absolutely necessary to use additional wind protection over the built-in microphones on the portable digital recorder. Many models come with a foam windscreen, but this usually isn't enough to protect your audio from distortion when used outdoors. There are a number of different manufacturers making custom softie windscreens for specific portable recorders, as well as generic windscreens that will fit a variety of recorders.

No matter what you do, the name of the game is always about getting the microphones close to the action. If your on-camera talent is going to hold the recorder as they speak, be sure to tell them not to move their fingers around or fidget, because the mics on the recorder will pick up those noises. In some situations it's better to mount your digital recorder off screen on a stand or on a Gorillapod. However, most of the time, the best way to go is to use an external microphone.

Using an external microphone can help you tackle two of the major problems you'd normally encounter when you use just the recorder on its own: it’s easier to get the microphone closer to the sound source and you don't have to worry about the noise you make when you handle and adjust the controls on the recorder.

There are many different kinds of external microphones that can be used to suit different situations. Shotgun microphones are commonly used to capture the audio in video and film productions, thanks to their highly directional pickup pattern. Wireless microphones can also be really useful when your on-camera subject needs the freedom to move around without being tethered by wires. Ideally, you would use both of these kinds of microphones, providing that your portable digital recorder has multiple microphone inputs.

The kind of mics you can use will vary, depending on what kind of microphone input your recorder has. Many portable digital recorders only have a single mini-plug external microphone input; while others have multiple 3-pin XLR microphone inputs (like the Marantz PMD661 MKII). Generally speaking, XLR inputs are for professional microphones and mini-plug inputs are compatible with consumer microphones. No matter which kind of shotgun mic you use, wind noise is still a major factor to consider if you plan on shooting outdoors. If you set foot outside with a shotgun mic, you'd better be equipped with a serious fuzzy windscreen!

The best way to use a shotgun microphone with a portable digital recorder is to mount the mic on a boompole and hoist it just out of the frame of the shot to get as close as possible to the sound source. Obviously, this is going to be impossible if you're also operating the camera, so it's a good idea to have a dedicated sound person operating the audio equipment when you're shooting double system with a DSLR or mirrorless camera.

Using wireless mics with portable digital recorders requires a different approach. Instead of mounting them on boompoles, you're going to be clipping the tiny lavalier mics to your subject's clothing, attaching a beltpack transmitter to their body and plugging a wireless receiver into the mic input on your portable recorder. You need to make sure that the transmitter and receiver have fresh batteries and are both powered on, and that the lavalier mic isn't rubbing against your subject's clothing or picking up any wind noise (wind noise will always be an issue during outdoor use).

If your portable digital recorder has a mini-plug mic input, you’ll need a microphone with a corresponding mini-plug connector. However, if you want a better-quality wireless system that's compatible with mini-plug mic inputs, we recommend upgrading to a Sennheiser AVX or a Sony UWP system. If your portable digital recorder has XLR inputs, you can use any of the wireless systems.

When you use a wireless microphone with a portable digital recorder, you're going to have to plug a wireless receiver into your recorder. It becomes cumbersome to have these two devices attached to one another if they're not organized in a bag or a case. When you work this way, you may want to strongly consider getting an audio bag to hold your equipment together as you work. And if you're going to use a location audio bag, you may want to consider adding a field mixer to your setup, as well.

Workflow #3: Using a Field Mixer with a Portable Digital Recorder

Using a field mixer in conjunction with a portable digital recorder does many things to improve the quality of your audio. A field mixer will allow you to plug multiple external microphones into the recorder (depending on how many channels the field mixer has). Professional field mixers deliver cleaner-sounding audio because their microphone preamps and overall circuitry are superior to the components found in most portable digital recorders. Plus, they give you tools such as faders, limiters, and tone generators that help you control and adjust the audio levels for optimal quality.

Field mixers get their name from being battery-powered devices (hence, you can use them in the field), and from their multiple inputs (you can plug in multiple microphones and mix the audio with the level controls). One of the most popular field mixers is the Sound Devices 302. I own a 302 and often use it on DSLR video shoots. I use the XL3 output cable on my 302 and connect it to the mini-plug line level input on my field recorder. This has worked flawlessly for me. Many DSLR shooters who can't afford the 302 get really good results using the more affordable two-channel Sound Devices MixPre-D Compact Field Recorder.

The basic idea behind using a field mixer is that you plug the microphones into the mixer and then plug the output of the mixer into the portable digital recorder. You can raise and lower the levels of the different mics as needed with the channel fader knobs. Most field mixers have multiple outputs, so you can send your audio to the portable digital recorder and another device, as well. In DSLR video shoots, it's a smart idea to use the additional outputs on the field mixer to send the production audio to a second portable digital recorder in your bag. This way you will be making two copies of the sound at all times and are covered if one recorder encounters a problem.

Unlike an XLR adapter box, a field mixer cannot be mounted on your camera. This is why using an audio bag to hold the field mixer and portable digital recorder is essential. Audio bags usually have room for a few wireless receivers, batteries, and other odds and ends you may need in the field. Location audio bags usually come with a shoulder strap. However, wearing the audio bag on a separately available body harness is far less fatiguing.

Workflow #4: Using a Clapper Slate with a Portable Digital Recorder

Most people recognize what a clapper slate is, but few people realize how they help you synchronize audio in video production and filmmaking. Clapper slates are used at the beginning (and sometimes at the end) of a take as a visual and audible reference point to identify the footage being shot. The slate board will usually have areas in which you can write information about a take (scene number, take number, etc.) with dry erase markers or chalk. The person who operates the clapper slate (often the 2nd Assistant Camera person) will also announce the take information audibly before they clap the slate.

However, before the 2nd AC announces the take info and claps the slate, you must first make sure that both the camera and the portable digital recorder are rolling. The reason that the clapper slate has bars that get whacked together to make a loud clapping sound is to mark a point visually on the camera's footage and audibly on the audio recording where the two can be synced. In the video-editing software, you can find the exact frame where the bars on the clapper slate make contact with one another. If you line this frame up with the spike in the separately recorded audio files where the clap sound occurs, then your audio and video footage will be synced.

Using a clapper slate in a DSLR video shoot will help all of the workflows described in this article, no matter if you're just using the recorder on its own or if you've got a full location-audio kit. If you can't afford a clapper slate, you could have your onscreen talent clap their hands together at the beginning and end of each take to create a similar visual and audible syncing point.

Recent advancements in post-production software now make it easier to synchronize in-camera audio and the superior audio from your dedicated audio device. Some video editing packages such as Apple’s FCPX have this feature built in, while other 3rd-party options are available, such as Red Giant PluralEyes.

Before You Record: Key Operational Checklist

Here are a few basic operations that must be carried out each time before you record sound with a portable digital recorder:

1) Adjust your gain settings

Adjusting the gain of an audio recorder is as fundamentally important as focusing is on a camera. Without the proper gain adjustments, your audio will be too low or too loud, and suffer from clipping and digital distortion. One of the biggest tricks in digital audio recording is finding the sweet spot on the meters that will give you the best signal-to-noise ratio at any given moment.

Some portable digital recorders have a feature called Automatic Gain Control. AGC does its best to set the gain actively for you. However, in many situations, it can be more harmful than helpful. Most portable digital recorders that feature AGC also give you the option to turn it off. The problem with AGC is that in a quiet location, it ducks the levels down when someone speaks, and pumps the levels back up in moments of silence. This creates an audible pumping sound that is noticeable and distracting to the viewer.

For optimal gain settings, it's usually a better idea to turn off AGC and set the levels manually. In the digital realm, it's best to keep the average signal on the audio meters around -20dB. It's okay if the meters occasionally bounce up to -12 or -6dB during the loudest peaks in volume, but try to keep the meters on your recorder in this sweet spot. That's usually how you get the best sound levels possible on your recorder.

2) Double-check the switches and buttons

One of the issues I've encountered when using portable digital recorders in DSLR video shoots is that the little switches and buttons on the recorder can sometimes accidentally get bumped and switched. Because there are so many takes in DSLR and mirrorless video shoots, you're constantly grabbing the recorder to start and stop recording. I've noticed that the switches on the recorders often get changed in the middle of a shoot. Make a habit of double-checking the hardware controls every time you're about to record. It could save the day.

3) Always monitor your audio

Actively listening to your audio on headphones is as fundamentally important to the success of your project as looking through the viewfinder of your camera. You can't properly frame a shot without using your eyes, and you can't assess your audio without using your ears. One of the biggest problems with shooting video on a DSLR is that most cameras don't have a headphone output. The good news is that you're shooting double-system audio with a portable digital recorder. Your recorder has a headphone output, so you should use it as much as possible. Listen to your audio when you're setting up and when you're shooting. If there are any problems, you'll hear them and have a better idea of what needs adjustment.

4) Make sure you're rolling

It may sound obvious, but sometimes the most basic operations can be overlooked. Always make sure you're recording before you start a take. Many of today's portable digital recorders will have flashing red lights to indicate that they're in RECORD/PAUSE mode, and a solid red light indicating that they're recording. In a fast-paced set, you can glance at your recorder and mistake the flashing red light for a solid one. It's always best to dedicate five seconds to really looking at your recorder to make sure you're recording. And after the take begins, it's important to keep glancing at the device to make certain it continues to record. The batteries could die, or a control could accidentally get bumped and stop it from recording. If you see this happen you'll be able to alert the other crew members and have a more productive shoot.

Thanks for checking out this article! Hopefully you're empowered with enough information to get you up and running for a double-system video shoot. If you have any further questions at all about recording sound for video on a portable digital recorder, we encourage you to post them in the Comments section, below.

I have a question. With cameras such as the it's mini 4.6k pro where you can run a mic and boom to record straight into the camera is it better to do so or still capture on a field recorder. Is the sound equal to that of recording it on say a zoom H6? Should I just use the mic connected to the camera or will the field recorder sound better still?

Hi, I have recorded my video tutorial using Desktop recorder softwart and using HP Headphone with MIC that we use normally for online voice chat. Voice quality is fine but the problem is it has also recored external voice like Room AC's voice and also street dog's voice. Please suggest me how to ignore external voices.Please also let me know if I can use any other mic to ignore external voice. Your early respnonse would be highly appreciated. Thanks Monika

You may be able to turn off the AC while you are recording and/or edit out this noise and other ambient annoyances like those from the street. There is no microphone or microphone filter that we could guarantee that would elimate those sounds while recording.

Please contact us via e-mail if you have additional questions: AskBH@BandH.com

No quality is lost as the recorder will still capture the high resolution audio and record it to its memory card. What you are gaining are the use of the recorder's superior microphones and pre-amp over those in the camerai f you decide not to use the higher res file of the recorder to sync with in post.

I'm mainly a "one-man" team most days. Is there no way to attach say the zoom recorders to a mic stand, boom pole, or even a tripod to get the recorder closer to the subject when I have to work the camera? Thanks in advance!

Great explainations. I think I understand now more about the problems involved in audio recording. I was wondering if you can suggest how to approach my use-case?

My typical use-case if trying to record my daughters singing in a performance. I.e., one or more singers accompanied by either a piano, a guitar, or a band (drum, electric guitars, keyboards). As a parent, I do not access to the stage area so I typically have to record from a distance (so I cannot be close to the source as you recommended but on the other hand there is more than a single source). I would prefer not to carry as little as possible and to remain on a limited budget. Is this too limiting to get improvment on audio quality on my camera recording?

I was thinking about purchasing a DR-40 (for example) and record audio either from my seat or near one of the speakers. Would this be a good solution? Could you suggest a better one?

Please e-mail us all the details of your set-up along with make and model numbers of your camera, microphones, and recorders, and what you will be recording. We will be happy to offer you some guidance to get you pointed in the right direction.

Please contact us via e-mail if you have additional questions: AskBH@BandH.com

I really liked your article, however, I still have a question. I now have a dual recording system, but I'm having problems synchronizing my audio with the video. I've tried the free trial of Plural Eyes, but I'm having problems with the synchronization. Any help would be welcome.

Thanks for this clear and informative article. - One more tip: with a small and simple thread adapter it is possible to put a digital recorder like the Zoom on a microphone stand that can be extended from outside the frame to the proximity of the speaker or talent. It is of course less stable then a boom mic on a dolly, but also far less expensive. Just be sure to balance and secure the combination safely. - BR

This article on audio recording was very informative and easy to understand. Sound recording is often overlooked and adds a professional quality to any producrion. On camera mic's are the least desirable and produce the lowest quality of sound. A modest investment in pro audio gear will match your HD video and will enhance your images.

I want to record bird and nature sounds. I picked up the H5 and it works great but I want to get more out of it. I am thinking a shotgun mic would be helpfull. Also adding a dome would add a more percise directional use. Can you provide any recomandations here.

I strongly recommend exploring the Zoom H5 thoroughly in the field and actually record with it befoer purchasing additonal components. A parabolic dish and shotgun microphone can be useful tools but can also prove to be difficult to use in a field situation. That said, consider:

The Zoom SSH-6 Stereo Shotgun Microphone Capsule is designed to work with the company's H5 and H6 audio recorders as well as the hybrid Q8 audio and video recorder. The capsule includes a super-directional microphone for picking up sound on center that can be combined with a bidirectional side microphone for picking up sound from the left or right to record a fully mono-compatible stereo image for film, video, and television projects. For example, you can record dialogue with the center microphone and then mix the desired amount of environmental sound captured by the side microphone with the Zoom recorder. A hairy windscreen is included for helping reduce wind noise.

Stepping up a bit:

The Audio-Technica BP4029 (AT835ST) Stereo Shotgun Microphone offers two internally-matrixed modes which provide traditional "left-right" stereo. To accommodate varying acoustic environments, the user may select between a "wide" pattern (LR-W) with increased ambient pickup, and a "narrow" pattern (LR-N) which offers more rejection and less ambience.

In M-S mode, the BP4029 provides independent Mid and Side signals. This allows the Mid-Side balance to be adjusted as desired at the recording desk or mixing electronics, reducing the amount of equipment necessary in the field.

The JonyShot 24" Parabolic Microphone Dishfrom Jony is highly directional and handheld or tripod mounted. It has 2 comfortable grips on either side of the dish making it easy to hand hold and aim. The bottom of the unit has a mounting plate with 1/4" threads for mating to a tripod for fixed or aimed shots.

The isolated microphone mount accepts most handheld or shotgun microphones (available separately), giving you complete control over the audio you are expecting. It will even accept a different mount if you prefer. The microphone is aimed to the rear center of the dish where the audio is concentrated and directed into the microphone's element. Audio can be picked up from as little as 3.0' (0.9m) or as much as 500.0' (152.4m) depending on wind and weather conditions.

The optional microphone feeds into an optional preamp that outputs the audio to optional headphones for optimal aiming by the operator. The audio is also output to feed a cable or an optional wireless transmitter.

It really pisses me off that double system (invented in 1930) is what we have to do because Canon is too cheap to build a video/audio dslr. This is hooey! Confidence audio recording with video has been around since the 1960s. So now in 2015 we have to step back to 1930 because why?

Well, basically because two people concentrating on recording video and audio usually provide better results than one person. Picking up and monitoring sound is crucial for pro results. Recording audio with a video device always is a compromise - less for technical reasons (it would of course be possible to integrate better audio hardware and interfaces in a camera, if you were ready to accept the extra bulk and weight) but who is going to monitor and mix the audio while concentrating on framing? Leave alone handling a microphone boom?

One-(wo)man-does-it-all (aka VJ) set-ups were made popular back then (and still appear to be) in order to cut production cost - but they seriously cut quality.

Very helpful article! Thank you for recommending specific items-such as the Tascam DR-40 I have just purchased. I was wondering though if you have recommendations as to what type of microphone would best with this? As a background, I typically have a 2-3 person crew but no professional audio person. We shoot A LOT of testimonials/interviews and always in the worst possible places (doctors offices, hospitals-AC is running or some machine is on that we don't have control of). Just wondering if you could recommend a lav or a shotgun to upgrade to. Currently we've been using WM-azden pro transmitters/receivers with a Countryman B-3 lav, but I still feel like we get a lot of noise or feedback but any movement from the talent. I bought the XLR connector for the tascam as well. Thanks!

You may need to edit out some of the low-level ambient noise you are currently encountering. This is a normal and usual part of the process. You can also experiment with using a boompole mounted shotgun mic positioned just outside the frame of your shot - just above your subject's head or below them.

The NTG2 Complete Shotgun Microphone HDSLR Kit is a B&H Kit designed to eliminate the guesswork in configuring a shotgun microphone system for the new breed of video enabled DSLR and other interchangeable lens cameras. It delivers quality and reliability while remaining cost effective.

The NTG2 from Rode NTG2 is the featured shotgun microphone in this kit, supported by a universal shockmount, universal hand grip, cabled boom pole, windscreen, a right angled XLR cable and a impedance matching transformer cable for use with the video HDSLR. Rounding out the kit is a neoprene bag made to carry a boompole.

The kit is an all-in-one solution for event videos, budget film work, budget broadcasting, Electronic News Gathering (ENG) and field production applications that use an HDSLR camera. It can be used either on-camera, or as part of a secondary recording system.

If you are looking for a product that will help you in synchronizing your audio and video files, for better quality performance, there's actually an app called DreamSync, a standalone application that's built for the novice user as well as professionals. It syncs your footage and audio into one single clip so that it can then be imported into applications like iMovie, Windows Movie Maker, Adobe Premiere, Final Cut X, or any other editing suite. http://dreamsyncapp.comBoth apps are effective depending on your editing workflow and how much (or little) time you want to dedicate to learning another interface for syncing audio/video footage.

I would like to make a video and have a camera that has decent filming quality (panasonic lumix DMC-TZ7), the only problem is that it does not have an external microphone jacket. In order to improve the sound quality, I understand that we could use a wireless external microphone. We are in a small room and not moving (just sitting behind a table). What kind of microphone would you recommend in this case (low budget)? What does it mean for the editing when you use a wireless external microphone? You're talking about using a clapper, but is that because you will have a sound and image flow that you need to edit together?? Perhaps it's a very stupid question, but I am bit lost with this whole subject!
Thanks so much for the help!

One of the best (specific and easy-to-read/understand) instructional sets, especially for newbies like me, I have ever read!
Absolutely outstanding! I learned much, and will now have some wisdom in purchasing a PDR as well as understand Gain settings.

Very good write up especially for newcomers in this field. I have Nikon D800 and this article will be helpful in setting workflow for video shooting using dslr. A quick question- I have recently purchased Canon XF105 video camera. Will this workflow applicable to video camera? Does B&H has a bundle package that includes Shot Gun mic, wireless lavlier mic and audio recorder that is below $ 700-800 ?

I have a Canon T2i and a Rodeo shotgun mic. I want to recorded my son upcoming choir performance. He has a solo and I want to get the best sound possible. On certain occasions the sound I get is good enough but on other occasions when he performs the sound just doesn't seem to be just right. Could you help me out with this issue so I can get the best sound.

Thanks for the article.
It gave a good understanding of a direction to move on.

I have one question only, that disturbs me alot.
White background noise.

I've read an advise below to low down the gain.
Does this mean, that noise is caused by wrong gain number only?
Is there any causing noise factors that should be taken into account before buying external mic?

So another simple question for us newbies out there....if you are using a portable digital recorder how do you sync it to the video? Unless you are running an auxiliary cable out of your digital recorder and into the video camera? If you did it separately it seems like it would be difficult if there are lots of video takes, as you mentioned. So what's the best way to organize your work flow??

Hi, I have a question that I have been looking all over the internet for the answer. Maybes it just stupid but a compositor/VFX artist who is getting into the production end of things. Do all portable recorders with a line out/headphone jack do live playback? meaning that you can listen to what is being recorded while it is actually happening? Like the Zoom H1 has a line out headphone jack but its only 100 bucks. Thanks!

I have an HD video camera, a tascam DR-40 and need to record voice and instrumentals (teaching video). My small space only allows one angle for the video camera then the tascam elongates the microphone, but not enough to capture my soft voice and the child's and the instruments. I would like the microphone to pick-up the whole room if possible. How can I do this?

Thanks for the helpful article! My question now is this: Is it possible to do a double-system shoot, (in order to get optimal audio quality), while also syncing the audio into the camera during the shoot, (in order to save time in post-production)?

I'm shooting with a Nikon D800 and recording audio from a Rode NTG3 shotgun mic, (or sometimes a Sennheiser lav mic, or both), into a Zoom H4N recorder. Is there some way, using a timecode or otherwise, to get the good audio from the recorder into the camera? For interviews and such, using a clapboard and syncing later is no problem. But some of my work involves shooting live events where audio is needed. I can mount both the shotgun mic and recorder onto my shoulder rig. Yet having so many short, individual shots of both video and audio to sync up, especially when I don't have the time or the extra hand for a clapboard, makes post production a significantly slower process.

Do you have any suggestions for this? I'd appreciate any advice, as I'm relatively new at pro videography.

I am a teacher from South Africa at an underpriviledged school(I have bought from your New York store when I was in the States).

I have recently started a project at my school where I make short films with some of the kids. I bought all the equipment myself (DSLR, shotgun mic + shock mount, headphones, tripod, bag etc.) Currently I'm looking for a audio recorder under $100 just to improve the quality of sound. I'm still an amateur and don't want to spend too much.

What device would you recommend as a recorder via a shotgun mic on a boompole. I've looked at the Zoom H1, Olympus WS801, Sony ICD-PX333F, Sony ICD-UX523. I would even consider the Tascam DR-05.

We use a Tascam portable recorder and sometimes we have issues of audio drift when we get back into the editing room. The audio is synced to our video for about an hour or so and then begins to drift. It doesnt always happen, but what could be the cause? Are there portable recorders that work better for video that can be genlocked to my camera?
We use Edius 6.0 and Media 100 in our studio.
Most of the time audio we record is out from a mixer (The DJ at a wedding or reception)
Is it file format or perhaps quality setting the issue??
thanks for any help on this..